Having discussed the general historical baggage associated with the other theater groups used, almost as props, by the Takarazuka revue, let us now address the specifics as they relate to the Shakespearian play, Twelfth Night, from which Epiphany is adapted. Even before any changes...
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...azuka Revue will turn 100 in a little over a year. They have faced two world wars, the bluestocking women’s rights movement, and the occasional lesbian scandal, yet in many ways the rules of the theater treat their actresses as if it were still 1913. While the actresses continue to subvert gender roles and the patriarchy on-stage, often growing more and more subversive as the years pass, off-stage little has changed. However, while the male management would like to return to a time when the public sentiment felt that “its otokoyaku provide fans with romantic dreams of ideal men who understand women’s needs and emotions”(Yano 215), it must be acknowledged that “In short, critics and fans of Takarazuka … have since its founding contributed, intentionally or not, to the writing of a lesbian and/or antipatriarchal subtext within Takarazuka’s patriarchal text”(Figal 754).
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